Orville Wright, Three Museums and one Recurring Casualty

Orville Wright, Three Museums and one Recurring Casualty

By Steven & Evan Strong

My time with keyboards and screens is always a reluctant engagement, all planning and general writing takes place outside on the farm beside the rainforest during the day. Using the computer as a typewriter is the full extent of my liking or empathy for any screen with attachments and aps (whatever that means). Once my wife goes to bed my right index finger spends three to four hours pushing buttons, and it is nearly always to the accompaniment of background music. Most of the content on mainstream TV is shamefully numbing, exploitative and fearful, and even if it is just humming in the background, that alone hinders the process and necessitates the off switch.

This time around should have been a repeat dose of alternatives that soothe, and as Del was making her way down the hall towards the bedroom, I rose with every intention to switch the setting on the amplifier to a mixed bag of music from Double Jay. I was within a metre of the remote when first hearing Wilbur Wright’s name. I had very little to offer on this topic outside his brother Orville, and a flimsy piece of sticks and cloth cobbled together called the ‘Kittyhawk’ that flew a few feet in the air, that was the sum total personally known on what the commentator declared to be a seminal moment in history. Claims like that are so cheap and ready, but yes in this case this proclamation of brilliance has substance. Moreover, as I knew virtually nothing about this historic discovery, a break in routine was taken as I did something quite unusual, which I knew from the time of changing tact was heavily laced in irony. My hope was to find out what really happened and how great these two men were, via a mainstream media outlet.

As the documentary began, having no program, review or preview to sway or prepare, I assumed this was all about Wilbur and Orville as children jumping off hills while holding wings of fabric and wood, their discovery of an elemental truth in aerodynamics all the way through and past the first officially recorded flight. It was nothing like that, in fact this was far more than what could be dreamt up or invented as an opposing tale of frustration, deceit and extortion. If taken unchallenged, and relying solely on one side of this account, Orville has less morals and scruples than that of a Mafia family patriarch. Orville Wright repeatedly lied, profiteered, slandered an innocent genius, tampered with photographic evidence and master-minded one of the most daring pieces of extortion in the USA yet perpetrated. That is not necessarily our belief, yet, but that of the producers and writers of the script, and we are of the opinion that the quantity and quality of evidence they presented is no less than compelling.

Three Contenders for one Aeronautical Crown

To begin with, and not until well after World War 2, there was never an agreed consensus as to who was the first person or persons to fly a plane. The Smithsonian Institute was not impressed by the claims of the Wright brothers and instead nominated Samuel Langley as the first bona fide creator and aviator of a plane. In Germany, and to this day Connecticut, they accept neither claimant as legitimate and opt for German inventor Gustav Whitehead as the first to fly a plane.

It is claimed by his supporters that between 1901 and early 1903, before the reputed Wright flights, Whitehead flew his single winged plane on seven occasions, and there are seventeen signed statuary declarations to that effect, along with over 300 entries in the world press alerting the public to this world aviation first. It is worth bearing in mind that the first four flights involving the Wright brothers have no signed statements outside rumours of two local uneducated farmers spectating. In fact, it was only because of hostile public criticism, did Orville Wright release a photograph five years after the event he asserts was taken recording the longest solo journey of around 800 yards.

The problem with a photograph being released five years after the event that is now such a prominent part of the current Smithsonian display, is that as the expert analysing the photograph pointed out, the plane is stationary, barely 300 metres from the launching rails and the propeller is still. In what only compounds the contradictions, he clearly pointed out two adults and an engine positioned on top of the bottom wing of this bi-plane, but it wasn’t until 1908 (the year this photograph was released) the Wright Brothers invented a plane that could accommodate two people. The photograph is obviously after the non-event, and without a written affidavit or visual record, this seminal journey into the skies is solely reliant on the honesty of the Wright Brothers, and in particular, Orville.

In Orville’s public rallying call discrediting Whitehead’s precedence, he makes it clear that Whitehead had no skills in aeronautical machinery and that he is not only a fantasiser and dreamer, they never met him. However, one of the seventeen statuary declarations is from a witness who was ten at the time, and testified that he saw the Wright Brothers meet Whitehead where they were shown all of his research. So candid and technical was the discussion, Whitehead remarked to the young lad that after what was discussed they could go off and build their own plane. Equally, while Whitehead lived in Germany he worked as a fitter and turner for an aviation machinery factory. Orville’s reply was penned in 1945, two decades after Whitehead died in poverty interred in an unmarked grave, and just before Orville pulled off a masterful political ploy that is still held in awe for its audacity to this day.

Since the Wright’s claim of inventing the first plane, Orville has spent most of his time not in a hangar or beside a lathe, but in the courthouse suing any who dare build any form of machine that flies. He demanded 10% of everything in perpetuity, as his allegation is that the flying machine was theirs alone and all others must pay their ‘pound of flesh.’ The greatest legal obstacle Orville faced during litigation was that the historical umpire in such historical matters, the Smithsonian Institute, had already passed judgement and the tick was not accorded to the Wright Brothers or that inconvenient German who migrated to America and changed his last name, but no Samuel Langley’s name was pulled out of the American hat and awarded first prize.

The solution was simple. Orville approached the Smithsonian bequeathing the actual plane, sundry memorabilia and an ultimatum never before issued. Upon accepting these gifts legal representatives from the Smithsonian signed an unconditional contract, which meant they must agree that the Wright’s were first to fly, no matter what evidence is found now or in the future. If they did obey the laws of good science and admit a convincing counter-case is presented, all display materials must be returned to the Wrights. There is no doubt they would also convene at Orville’s home away from home, the court house, to barter for monetary compensation because they dishonoured a legally binding contract. If the historians ignore all future contesting evidence, irrespective of the rigour they supposedly invested before nominating Langley, the display is theirs to keep and exhibit forever. When the present-day Smithsonian caretaker of the exhibit was questioned about the dubious ethics in subscribing to an historical certainty through dividend and admission price, all he could say was the truth in conceding, “I wouldn’t do it.”

So the memorial with words like “genius” inscribed, the building housing the infamous ‘Kittyhawk’ and various items are all contingent on a version lacking a formal document, photograph of that time and is reliant upon a person who was very litigious, driven by money and quick to slander those who can no longer speak or breathe. The immediate question that comes to mind is that if one of the seminal moments in recent history can be sold on the market place and sealed with a contract, what is actually the truth and how much of the past has received the same disrespect? What we can guarantee our readers is that this lie does not stand alone and as every day passes is added to and eventually morphs into another convenience. If the supposed top Museum in the world will sell its integrity, what of the others?

A final verdict as to the authenticity and aeronautical integrity of the two designs is highlighted by two scenes in this documentary using opposing approaches. An aviation design expert, when inspecting the original two wings positioned beside each other, was particularly taken by two aspects of Whitehead’s research. The slope and alignment of the wings is almost identical to single-winged planes of today and would clearly work, moreover until the 1920’s all planes had two sets of wings in bi-plane formation, Whitehead’s design was years ahead of its time and entirely functional in 1901.

Not so the Kittyhawk, a contest open to the public offering a sizable purse for the furthest distance flown in the late 1990’s was an incentive to see many replicas of the first plane reputed to have risen in the air, present themselves for the fly-past. Well that was the hope, but the pragmatics of wing positioning and poor balance that dogged this earlier model reappeared and not one model broke contact with the ground. Much to the clear disappointment of the large crowd, the prize money was never collected. Nor could it be, because they are using the wrong model, a 1901 account by a reporter for the local Connecticut paper noted that Whitehead’s flying machine traveled over one mile. All that is needed if such a contest is called again is to enter, then find Whitehead’s specifications, build as directed and cover it with cloth until just before take-off. Knowing that the Wright’s 1903 proto-type is a dud and will never fly, the money is there for the German taking.

Two National Museums Pick and Choose at Their ‘Leisure’

Wait up, wasn’t all this shady dealing part of the times and dealings long ago? Agreeing to an American patent just after two World Wars primarily fighting against Germany, is an understandable error of ethics as an anti-German atmosphere was certainly in the air and all places in between. Perhaps these sins of the past is no more than the residual baggage of grudges then held, and in today’s more informed times such duplicitous behaviour would not continue? Regrettably, we can report back, repeatedly, that no matter what is presented or the manner of approach, the same selectivity and denial of the truth remains entrenched in the halls and passageways of power.

Over the last three months there has been some form of contact through official channels in regards to the ‘star rocks collection.’ Two people, one who works for the Australian Museum, Sydney, and the other for the National Museum, Canberra, both made contact with the Director of each public institution. Despite their endorsement and efforts in promoting these rocks, as has always been the norm, their pleas fell on deaf ears. The Museums, Universities and appointed guardians have already chosen and crafted together the approved historical narrative and past that point of manufactured certainty, whenever archaeological facts collide with what is chosen as historical facts, the Orville Wright principles stand firm. It worked so well in 1948 and still does, all that is required is to omit, fabricate, litigate and lobby.

Photo By Ildi Budai

Despite all the amazing technology, wisdom and evidence cut, inserted, imprinted and attached to these marked rocks, neither of these esteemed academics saw the need to phone, e-mail or write a letter of inquiry. The supporting photographs we sent speak for themselves, it is just that this private audience of two are deaf and blind to any ancient Original truth and much happier trading with Orville Wright and those of his disposition. Their hope is that we, and the sacred rocks, will fade into obscurity, as was the tragic case with Gustav Whitehead. After being locked out of his workshop, he literally gave up fighting and spent the next two decades working in a factory making machinery for the aviation industry before dying in anonymity. Outside his trade nothing else is known of Whitehead, but apparently even that remaining fact was deliberately overlooked by Orville Wright. He declared in his slanderous attack on Whitehead’s integrity that this man had no skills in or knowledge of the machines that turn propellers. The previous form on the tarmac indicates Orville Wright’s marketing prowess and contacts running all the way up the ‘food-chain’ was a sufficient deterrent for all of his opponents.

Yes it is a frustrating sometimes verging on an outrageously dishonest practice, but it has been like this for thousands of years and never seems to stop. We knew that in both cases the truth about these sacred Original rocks would never be endorsed by any representative of mainstream bureaucracy. As much as it was a lost cause before entry, there was always present somewhere in the distance the infinitesimal chance that one of these guardians of Australian history would honour their charter, but not this time around.

Another Brick in the Same Wall

It’s one or the other, either roll over and walk away or keep persevering and pay no attention to the end result. Of course, it can only be more of the same and to that end we intend to introduce three newer additions to this collection of ancient rocks. Two are local products and the third, in keeping with our international theme, was brought at a road-side stall staffed by two children in South America.

The first two rocks were purchased by Ros and each is unlike anything else in the current collection. Both are probably cylcons, and that is about where the similarities cease. Outside these two Australian rocks obeying some concise mathematical ratios, they do seem to share nothing else at face value beyond an Original ancestry.

Ros’ Red Rock

The first artefact comes from somewhere within the Northern Territory. As is usually the case when buying Original artefacts collected decades earlier or stolen, the details are scarce at best and it is no different with this rock, which appears to be a cylcon. It is a very hard rock of unidentified geology and coloured a very distinctive reddish-brown. An extremely solid piece of work, the rock weighs 1.7 kilograms, and measures at its widest points 20cms x 12 cms x 4 cms. What is fascinating and precursor of many more mathematical ‘coincidences,’ is that these measurements are exact to the millimetre and form a ratio of 5:3:1.

What cannot also be denied is that this artefact is unique and a considerable amount of skill and talent was invested into something very sacred and incredibly ancient. In justifying such a claim of antiquity spanning tens of thousands of years, I have no path available but to momentarily stray from our empirical analysis. From the first time this engraved rock was seen and held it just ‘felt’ old and does so every time I pick it up. Of all the rocks we are custodians of, there is only one other rock that has the same antiquity radiating out of every grain. I know it is very old and has attended many ceremonies, but we do not have a needle or reading as a supporting base. It makes no difference, the rock and the message it depicts is ancient and that is the way things are.

Returning to the straight and narrow, the main enigmatic figure looks so much like the stereotypical image of a grey Alien and is obviously the focus of this ancient testimonial. As much as this looks like the stereotypical grey Alien, from first sighting my reflex response was that this figure was a depiction of an ant-person/spirit. As uncomfortable this notion of ant-people may be in modern days, they are an integral part of Original and Amerindian mythology. Further consultation is needed before going any further down this somewhat challenging path, but for now locating the central player is easy, identifying the game-plan, who, what and why is a far more daunting assignment.

This figure is twelve centimetres in length and six centimetres at its widest point, the fact that it is exactly twice as long as it is wide may appear to be a simple case of a coincidental creation of a 2:1 ratio. Perhaps, but what does add to the deliberate mathematical possibilities is the fact that the top three centimetres of the six centimetre skull is consistently three centimetres from the edge. In fact, the placement of the top half of the skull is perfectly aligned to the rounded and shaped edges, suggesting this is intentional. What only adds to this ancient design laced with mathematical undertones, is the three and a half centimetre arc above the top right side of the skull. The path of this arc/halo is again parallel, remaining exactly two and a half centimetres from the lower circle and stops at a point that is directly above the highest point of the skull.

The positioning of the two eyes is surely not just another amazing mathematical random event. The mid-point between both eyes is five centimetres to the thumb rest and five centimetres to the opposite edge.  There is too much symmetry here to be accidental, and it only gets more refined and defined when considering how this image was created. The rock was cut first, the outline of the main figure was cut then pecked, while the four lines/limbs just beneath the skull is the result of cutting into a very hard surface, as is the case with what appears to be two very small legs and a penis. Once the outline was completed, the inner section of the skull and thin body seemed to have been pecked.

There is technology at play here that is supposedly missing until the British Invasion Fleet dropped anchor. It is really that simple, and that is why the officials refuse to look at these rocks personally, as they would be forced to concede that the tools needed are too advanced to fit into any accepted version of life in Australia before Cook sailed up the east coast and illegally raised the Union Jack on Original soil.

A Cylcon Four times Over

There was no information given in relation to what role this rock performs, but that really isn’t an obstacle, as we can identify four features on this rock that all cylcons share.

Most importantly this rock was shaped to sit comfortably in the hand while being activated and pointed. When held correctly, the image is upside-down with the thickest and widest section resting in the palm and back on the hand, the thumb rest is easy to negotiate as are the notches for the three fingers placed on the opposite side. Once held in the prescribed position the main image sits flat in the hand at one hundred and eighty degrees, being perfectly flat only accentuates impact and power of the delivery. But on this occasion there is something extra added to facilitate the personal interaction between rock and skin that we have seen once before, but not like this.

Ros’ Red Rock – infill

Infills, pieces of another rock/material placed inside and attached artificially to the host rock, has been identified on Ros’ Rock 1, 6 and at least five other rocks. With the exception of Ros’ Rock 6, all other infills sit neatly inside the depression, but this rock not only has what really should be referred to as an ‘outfill.’ It is actually a piece of foreign material measuring 5.2 cms by 3.5 cms that sits four millimetres above the base rock. Its purpose, once held the proper way, becomes easy to grasp and it soon becomes obvious how intricate and complex this artefact is. Knowing that cylcons work in a symbiotic partnership with the human host, once a mantra unlocks the magic within the rock feeds off the human pulse. Capturing the throb of the human’s beat, it is then magnified as it runs up and down the rock, each return journey sees the intensity magnified and pace quicken until it reaches maximum power and shoots out through the top point as a concentrated beam of energy. This outfill is the main point of that exchange, and being the largest yet seen we can only assume the interaction between rock and human host will be of the highest order. What we did find edifying was that if this raised attachment was transferred to the opposite face, it would be positioned at the top left hand section of this alien’s head/brain.

And it is that exit point which is so clearly delineated and intersected, that confirms it is a cylcon. The curved line of the quite thin body actually marks out the path this build up and final energy release takes place. The left leg curves back towards the centre of the rock and if continuing to trace the path taken past the last cut mark another four centimetres, that line will intersect with a fascinating heavily lacquered line cut into all four sides of this rock. As this line passes over the very top of the pointed end, in exactly what would be the middle is where the hypothetical line from above meets. Outside this figure, a small accompanying halo and the one line that runs a very convoluted path, there is nothing else on this rock that meets the eye, thus highlighting the importance of the only point of convergence.

The fourth indicator is without a reference, and to be honest unlike the three shared features discussed, is more a deduction and certainly not a comparison. Nevertheless, the fact that the three longer sides are uniformly curved and shaped to the same configuration and the fourth (9cms x 2 cms), which is the closest to the top point, has been cut and smoothed flat demands to be recognised as another way of consolidating the potency of the upper outlet of this cosmic stone apparatus.

Putting on a Shiny Coat

Quite a few of the rocks in the collection have been polished, some with a degree of vigour and a coat that still reflects light, but this is a step above that buffed veneer. There still is a thick coat of lacquer that covers every side with the exception of the rock pecked from inside the body of the being. It shines irrespective of whether there is light to reflect and is very smooth to touch.

In what only adds to the mystery of how and why, the only line present that spans all four sides and turns dramatically three times has been heavily coated in the same lacquer. So much so that the incision has been filled to the brim and gives a better idea of how much lighter the lacquer is than the much redder rock. We can only assume that when first applied, this lighter colour would have lessened the red in giving it a browner hue. The difference in colour these layers of lacquered applications have made is easy to compare, as the pecked area has been left uncoated and much redder than what lays elsewhere.

Ros’ Red Rock – Handheld

An Incomplete Check-list

This rock is a work in progress, my intuition is running on overdrive with this one and all I know is that we have barely scratched the surface. At the simplest level, there are four techniques used by the ancients to pass on information of the highest imperatives, there is undeniable evidence of cutting, pecking, infilling and lacquering. If it was a soft sandstone the cutting does not need a blade, but it does here, this rock is extremely hard and can only be cut by a blade or laser, any combination of the supposed Original tool-kit of stick, bone and untreated stone will not pass muster or leave any lasting impression.

That part is easy, but the figure is another story. We are not fully convinced it is a representation of grey Aliens, but outside ant-men there is a distinct dearth of alternatives. There are two arms, two legs, a penis and two lines that cut across and above the body and are separate to the body. Yes the head is amply oversized and well beyond any human model, but the delicate physique and disproportionately oversized head the Greys are known for, is distorted somewhat. It could be intentional, as a way of emphasising their intellect, or possibly it is not a Grey as such, but the spirit of the Ant People Original myths, Dreaming stories and Elders speak of?

That is possible, but we are inclined to dismiss that avenue simply because of what this being holds in each of his hands. Of course it is impossible to be specific, but in general terms as the two objects are held aloft and is deliberately prominent, it seems logical to suggest they are tools or some sort of device. Are they the bearers of ancient technology and the proto-types to be used by both Original and Aliens? Does this stone tablet immortalise one aspect of the first contact? The Dreaming stories never mention the Ant People bringing sophisticated technology or any material gift or incentive. Whereas, the talk of Pleiadians coming to Australia bearing many insights, genes and gifts is common throughout the country. Equally, that constellation has seven stars of which six are visible to the naked eye, despite that visual impediment every Original version of this star system always nominates seven sisters.

Again this is merely a preliminary report, but the mathematical precision associated with and around this being is very much an Alien style of expression. In many rocks we see similar precision and in each case there is an accompanying off-world narrative, it is their signature and the language they brought to Earth. So on the balance of probabilities and a sounding board from which further investigations on this rock are conducted, we are inclined to accept it is recount of extra-terrestrial involvement in the affairs of the Original people.

A Mathematical Overload

Once again, just as we sensed an air of predictability was taking shape, this second rock under scrutiny brakes the chains in reclaiming new boundaries through revealing a sophistication in mathematical principles and proportions we have never seen before. So precise is the exactness of ratios and shared numbers, we have remeasured more than once just in case our vision was deceived by a selective eye. Without doubt there is also some mathematical intent among many avenues discussed, but this cylcon is literally saturated in ratios, shared numbers and alignments. The symmetry, balance and co-ordination of ratios is lacking in an equal and uncovers another branch of formal communication never suspected to be part of any Original Lore or lifestyle.

Left Hand Cylcon

This symmetrical cylcon really is a geometrical overload. This sacred magic rock is covered in straight lines, consistent curves and at least half a dozen cryptic ratios. It really is unfamiliar ground here, even though our collection of cylcons, magic rocks and the like is close to fifty, there is nothing like this on show elsewhere. Nearly everything reported is an excursion into precedence and precludes any absolutes. In fact, outside the symmetry of shape, which does resemble the ‘rocket cylcon,’ there are no other comparisons to be made.

Until now we had a real problem just using the white-fella term of cylcon, as many cylcons barely resemble the merging of a cone and cylinder. The reality is, outside the ‘rocket cylcon,’ none come close to that geometric union. Until now, this new addition has to be the touchstone and model that inspired this manifestly insufficient description.

All the cylcons, fully intact or segments of, are very hard rocks. Whether petrified wood, basalt, the hardest type of sandstone or any other geology, these rocks are capable of sustaining quite a deal of wear and tear, but not this one, it is a very fragile member. Every time I pick up this rock it is accompanied by a dread verging on an irrational fixation that at some time in the future I will drop the rock. I have visions of the delicate stone package shattering into way too many pieces to glue back together. With every other rock I have held, and alas on a few occasions dropped, there was no forewarning or premonition of a mishap was on the cards. Then again no other rock we are custodians of sheds grains on contact. We suspect this rock was always kept in sheltered locations and guarded with due diligence and because of this, accentuates the chances something unique and powerful lays within.

Like most of the rocks we are working on, there is a hardened coat that shields a soft underbelly. Of all the base rocks this has to the softest, and that foundation creates a weakness above. Unlike nearly every rock that has a harder resinous substance applied as a coat, the same grains below can be clearly seen on top. The top veneer is the same rock, the application of intense heat and most probably a clear coat of resin has sealed and hardened the softer rock into a crust. That process seems to have slightly darkened the colouring, evidenced by a very thin strip of the softer grain exposed around the bottom edge which is verging of a cream-white colour, as opposed to the brown-cream on the coat. What this has done is maintain most of the integrity of what was been cut and pecked, but done nothing in relation to strengthening the entire rock. The good news is that as of the day of writing my premonition is still unfulfilled, but in what is an each-way bet I now wrap it in a thick coat of bubble-wrap. I am getting a little too old to trust my coordination to stand firm as the years roll by.

You Can’t Serve With This Grip

Left Hand Cylcon – Closeup

What has never escaped my attention is the need to find the correct grip before attempting to strike up any symbiotic connection, and equally how many of these rocks can be held in a manner that is often so similar to the extreme western grip I use when serving in a tennis match. Not this with this rock, first up because of the positioning of the wear-mark of the thumb when in use, this cylcon is the first we can positively identify as requiring a left-hand grip. But it gets even harder to hold knowing that the wear on the opposite side demands that the three main fingers must curl back towards the base. This all adds up to a quite precarious hold that is as uncomfortable as it is tenuous, and only adds to my justifiable paranoia of a future drop.

Left Hand Cylcon – Base

What that awkward grip does enforce is meaningful contact between the left-hand palm and the roughed up base section of the cylcon. The thin ring of the inner white base rock is exposed and will ensure that the reciprocal connection between human and rock is complete. The cylcon is inert until held and once gripped properly with the right song or chant offered, the rock picks up the host’s heart-beat through the palm and keeps feeding off that energy until it takes over and intensifies that input until finally projecting this beam through one clean exit point.

That single clean shot is part of the delivery regime of every cylcon seen, but of course, that rule went out the window via nine tiny peck marks that circle a small central piece that still retains its protective coat. What that will create is somewhat like the effect of a shot-gun scattering its load of pellets. With the central point blocked and ringed by nine pecks all aligned at different angles, we really are in uncharted cylconic territory.

Now deposited outside any chance of a comparison, it is an appropriate time to examine the cut marks. Undeniably there can be no claim that the tools used are highly advanced, it is entirely possible that due to the fact that this is the softest rock we have in the collection, the fine sharp lines were made by a sharpened piece of obsidian. That is possible, however, since nearly all the marked rocks in the collection are extremely hard and the exclusive domain of a metal blade or laser, there really does seem to be no reason not to take the most efficient route and use high order technology in creating this mathematical potpourri. For now, the best we can deduce is that the tools employed are most probably the same as usual, but that is a secondary avenue to pursue.

Left Hand Cylcon – Markings

Over a Dozen Points of Convergence and Proportions

*If running an imaginary line from the centre of the tip to the base, the length to each edge of the base is 2.75 centimetres. All the way up from top to bottom the width to each side remains exactly the same. The balance and symmetry of this Original creation is faultless and without parallel.

*Engraved into both sides of this cylcon are two shapes that resemble an ellipse that doesn’t quite join at either end. The larger shape has a lower arc measuring twenty centimetres with the top plate nineteen centimetres long and is separated at the widest point by 3.1 centimetres. The smaller shape is barely half as big and measures 11.5 and 10.5 centimetres and is also set apart at its widest margin by 3.1 centimetres. The gap is identical and the difference in lengths between the two sides of both ellipses (one centimetre) is the same. Both sides of the smaller shape are 8.5 centimetres smaller than that of the two sides in the larger open-ended ellipse. In what only highlights how much there is standardised mode of producing this shape, both shapes do not fully reconnect. The gap between the top and bottom edge of the smaller shape is 1.2 and 1.5 cms, which is a ratio of 4:5. When measuring the larger shape the distances are marginally smaller, 0.8 cms and one centimetre, but even though the gaps may appear to differ, they obey a much more sophisticated mathematical principle in that both sets of figures are arranged in the same 4:5 ratio.

*Near the projection point is a continuous cut line that wraps around both sides. It is 6.5 centimetres from the top and 19.5 centimetres from the base, it would seem a huge stretch in rational thinking to suggest that while acknowledging this equates to a ratio of 1:4, that calculation is merely coincidental. While analysing the numbers found around the base, another ratio, 1:2, which is the outcome of measuring across this rougher angular base which measures 5.2 cms x 2.6 cms, only confirms the existence of real and present mathematical intent. Of course, it should come as no surprise that the width of the narrowest point at the tip is 1.3 centimetres and if that result is multiplied by four the answer returns a base decimal of 5.2 (ratio 1:4).

*Maintaining our focus on the base plate of 5.2 cms, if that number is multiplied by five the end result is 26 cms, which happens to be the length of this amazing cylcon. An exact ratio of 5:1 is beyond the realm of any form of coincidence, the mathematics associated around and on this engraved rock is incredibly subtle and utterly full of meanings. I do remember as a teacher in high school being forced to ignore the curriculum, which assumed Original people were mathematically impoverished and could not count past five. Obviously my decision to ignore the advice of those paid much more than I turned out to be the right choice.

*In descending order, there are five measurements taken on this cylcon. From the the middle of the top down to the bottom, the centre point it is 26 cms long, the horizontal line that runs around the circumference is 6.5 cms from the top, a width of 5.2 cms by 2.6 cms at the base and the upper tip measures 1.3 cms. In combination those numbers form a perfect ratio of 20:5:4:2:1, and therefore any comparison between any of these numbers will always form a perfect ratio.

*The bottom line of both ellipses share the same space of 0.6 cms from the edge, both of these lines are much straighter than they are curved, whereas above, both lines are much more curved. Even though the dimensions differ, the portions and form remain faithful to a predetermined formula.

*In general terms, both shapes contain eight straight lines of varying lengths and angles. Past that shared tally the arrangement of lines are quite different. The smaller ellipse has six lines that intersect with the perimeter, the two that do not touch the outer lines are placed straight and diagonally across the upper exit point. The larger ellipse has taken a different tact, in that all of the straight lines are contained within and do not disturb the outer boundary. However, down near the base there are the remains of two curved lines that both begin two centimetres to the left which then run across the ellipse and continue onwards past the other line for at least another centimetre. What is an area worthy of deep consideration is that the largest of these sixteen lines (2.4 cms), is set an angle that measures, admittedly using a crude protractor and estimating the level plane of nought degrees, thirty three degrees.

*From our standpoint the symmetry and repetition of one standardised unit of length (1.3 cms) is, as far as we know, unparalleled throughout the planet. That all five bases of measurement are set in multiples of 1.3 cms means everything assumed about Original people before the British came to town has to be reconsidered. There is less than an infinitesimal chance all of these numbers are purely random in intent, and every chance the Original people used a formal form of mathematical communication/research that is as sublime as it is ancient and equally, outside the limitations and conditioning of today’s occupants.

Left Hand Cylcon Ratios – Diagram

Markings Separate From the two Ellipses

We have already made mention of the ring of pecks at the exit point and the showering effect this must create, but there is one other pecked line that is of equal importance and points directly towards this pecked circular arrangement and provides the path the energy surge takes just before full activation. The seven-pecked line cuts through the top line that spans the cylcon and if it continued past the seventh peck would bisect the top in the middle.

The cut line that circles the cylcon, one pecked line and another sharp cut line set on somewhere near a sixty degree path, are obviously all about facilitating the process that takes the human hosts’ life-force and transforms it into something that could be Divine, or much, much worse. As yet, we have no guidance on these symbols and hopefully sometime in the future an Elder or Custodian will fill in the gaps.

What is a Cylcon?

There is no definitive answer and virtually no written information or research to source or even use as a crude base. There is one published scientific paper on cylcons (“The Cylindroconical and Cornute Stone Implements of Western New South Wales and Their Significance” 23rd December, 1915), which was compiled through second and third accounts supplemented by an open admission that “it has been found extremely difficult to obtain any reliable information as to the use of these stones.” Outside some patronising undertones and useful descriptions of the physical features of a large variety of cylcons, this is at best a simplistic 101 introduction to a very complex and sacred genre of magic rocks. If nothing else, if comparing to what was studied then, there is no rock that comes close to satisfying the requirements of the most geometrically correct version of the typical cylcon, than the rock we are now investigating.

The depth of the problem faced in trying to decide what these rocks are claimed to do, is that we have come to the conclusion that once the British Fleet dropped anchor, these rocks were hidden and all talk and ceremonies devoted to them went ‘underground,’ or has been lost over the past two centuries. The rationale was that these rocks could access powers that are too profound and direct and could be open to misuse on a scale that would be disastrous for the planet. Objects like these, talk of technologies and energy transmission along with many other ancient truths, was placed on hold.

Held in suspension, most definitely, but forgotten, never! Until Uncle Marbuck provided a basic introduction as to the why and how of these rocks, we felt it was both disrespectful and dangerous to touch them. Some of what was said remains in the room, but there are some other Original truths Uncle Marbuck did share that can be aired and shared. Without doubt his claims are no less than sensational, equally, in his eyes they are not claims but self-evident truths that will never go away. According to this revered Culture-man these rocks can levitate, heal, enlighten, kill, curse, open gates/horizons, perform magic of all types, record, chart, validate a Plieadian connection and shared genetic base, maintain a record of the entire human race from the very beginning and supply the reason why we exist.

That esoteric stock-take is a basic list and reason enough to put them in storage when the Invasion began. The best part of this ancient legacy was that for most of humanity’s tenure on this planet these rocks were performing at their full potential, as were the human hosts, and this was a global pattern using an international mode of communication recorded on sacred rocks throughout the planet.

A Cheap Mayan Sacred Rock in Transaction

Mayan Marked Rock

And it is in that venerable global tradition of days passed, we introduce a very recent associate member to the collection. It is fitting that if seeking connections outside Australia, we should return to the continent that provided us with the opportunity to investigate the amazing marked rock from Wisconsin. A little further south down Mexico way, at a time not that long ago, the Mayan empire flourished and a small rock was carved and inscribed in a style of communication that is completely in keeping with its ancient Original heritage.

Deciphering markings is more than hard enough when dealing with the local product, but in this more difficult task we are fortunate in being able to contact an expert in Mayan Culture and an apprentice to a Mayan shaman from the highest order and teachings.

**********This article continues in an upcoming book…….

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